Author: Robert Greenberger

Review: ‘The Day The Earth Stood Still’ DVD

The Day The Earth Stood Still was unique for a science fiction film when the original was released in 1951. It played everything with a documentary feel and treated the science fiction concepts as real and nothing to be mocked. It was understated and earnest and earned its place in the list of great science fiction films.

While a little preachy, at least Klaatu had the chance to address the greatest scientific minds and issue his warning that mankind had to deal with their nuclear arsenals and avoid self-annihilation or it would be done for them.

In the remake, out today on DVD, Klaatu never gets to make the address. This is one of the most glaring failings in the film which starts off well and then falls apart in the final third.  The nuclear issue was turned to an ecological one, which is perfectly valid, but after that, characterization is avoided in favor of a plodding story.

Keanu Reeves is fine as the unearthly visitor and his lack of chemistry with Jennifer Connelly is appropriate. Jaden Smith, as her step-son, swings between cute and petulant, perfectly appropriate for his age but, whereas the first film focused on the world through the boy’s eyes and gave Klaatu a reason for hope; the relationship depicted here is thin.  At no point, does Klaatu get to see the world for himself, relying entirely on a brief conversation with one of his kind who has been on Earth the past seven decades.

The internal logic for the way Klaatu’s alien powers works seems entirely lacking while the nanites that comprise Gort make far more sense. The stylishly updated Gort works far better than Klaatu or his energy globe of a vessel.

The supporting cast is filled with fine actor who are given little or nothing to do and their wasted talent is a shame. John Cleese and Jon Hamm have more to do than Kathy Bates and all three deserved more screen time.

The scant special features include three brief deleted scenes that add nothing to the experience. There’s a featurette on how the “reimaging” happened along with a focus on the special effects going into Gort.  The final two, [[[Watching The Skies:  In Search Of Extraterrestrial Life]]], and [[[The Day The Earth Was “Green”]]] are pleasant viewing experiences but are nothing extraordinary. There’s also a still gallery and production photos.

The DVD is available in a variety of formats starting with the two-disc special edition that includes the original film. The three disc version has a digital copy (which is almost de rigueur for big budget releases these days). The Blu-ray edition, not reviewed, also has the original film and two extra features.

Review: ‘The Tudors’ Seasons 1 and 2 on DVD

Henry VIII was a rock star in his day. Anne Boleyn was the fashion plate. Their doings were covered as the pop culture of their day (after all, there wasn’t much else to do). The doings of the Royal Family captivated the English people as much then as it fascinates today. It’s little surprise then that given the politics, power plays, sex, and war that The Tudors had not come to television before Showtime debuted their interpretation in 2007.

With the third season poised to begin on April 5, it’s high time we looked at the first seasons, both now available on DVD from Paramount Home Video.

Today, most people know two things about Henry VIII: he was fat and he had six wives as he sought an heir. A few more would know he formed the Church of England in a major schism with the Pope so he could divorce his first wife and marry the more attractive Anne.

The series pens with Henry when he was young, virile and active. He was a sportsman, a musician, and well-read.  He was also rather randy since, after all, rank hath its privileges. He married Catherine out of obligation not love, although she loved him and remained faithful despite the horrible things done to her in his quest for marital freedom. Season one showed his displeasure with the situation and his growing infatuation with Anne, who wisely didn’t put out until they were married.

Season two followed Anne’s inability to produce a male heir, losing Henry’s attention as his eyes found Jane Seymour. His break from the Church finally occurred and he was left to build his own series of churches.

It’s all fascinating stuff, unless, of course, you know anything about the era then discover the 20 episodes aired to date are rife with anachronisms and inaccuracies. Writer/Creator Michael Hirst defends his choices as saying he was hired to produce entertainment not a documentary and that buys him a fair amount of latitude.

The liberties, though, compress events and change things around. For whatever reason, having seen one Pope in the first season, they bring his successor on stage for the second season, much as Henry seems to go through wives. To make the show work at all, a lot of time compression happens so Henry marries Anne when he’s in his thirties soon after the meet, not nearly a decade later. Perhaps the biggest change, but one that works dramatically was the death of Thomas Cardinal Wolsey.

The historic inaccuracies are lengthy but the show is slick and polished with a large cast that requires paying attention. From sets to performances, you rarely want to take your eyes off the screen.

The performances make the show riveting, starting with Jonathan Rhys Meyers as the volatile, restless Henry. Maria Doyle Kennedy suffers wonderful as poor Catherine while Natalie Dormer is captivating as Anne. Where Catherine was older and less attractive, Anne was colorful, younger and went after what she wanted, which was not only the King’s bed but the power that came with the crown.

Every story needs villains and in his own sly way, Sam Neill steals the first season as Cardinal Wolsey. Additionally, there are the scheming nobles, notably Anne’s father Thomas Boleyn, The Earl of Wiltshire, played by Nick Dunning with cunning.  Interestingly, fathers back then thought nothing of encouraging their daughters to sleep with men if it furthered their family’s fortunes (which was entirely the plot to [[[The Other Boleyn Girl]]], which failed to ignite the screen).

Palace intrigue plays out in each episode as everyone vies to better their situation with the exception of Thomas More (Jeremy Northam) who puts his faith and his word above politics and then suffers for it. And even though Pope Paul III had nothing to do with the events depicted, he’s a welcome anachronism since it gives us the wit of Peter O’Toole, seen all too briefly in the second season.

The two box sets come with their brief extras.  Several episodes have perfunctory commentary and the extras feel rushed.  The first season offers you a look at the production and costume design, the latter of which is well worth watching. You also get a brief glimpse of the contemporary locations where the story was set. On the second season set you have a stronger Tower of London featurette and a weak look at the modern day folk who can trace their lineage to Henry and his legitimate and illegitimate offspring. Both discs are stuffed with sample episodes for Showtime’s other series, an almost desperate cry of “Please watch me” and frankly, several are worth watching but the discs would have benefitted from the very documentary material the show never tried to be.

Before the third season kicks off, you can check out which Tudor you are with a quiz at the show’s website. Me, I qualified as an actor, presuming I was still alive at the advanced age of 50.

Review: ‘To Catch a Thief’ DVD

  • Uncategorized
  • April 2, 2009

Paramount Pictures ends its tour of the 1950s, for now anyway, with the Centennial Collection edition of Alfred Hitchcock’s To Catch a Thief. Considered a minor work for the director, it actually holds up exceptionally well through the years and the restored print for the DVD, out now, is marvelous. Being the only Hitchcock film that Paramount still has rights to, this is a welcome part of the celebration.

Hitchcock’s 1955 film, based on David Dodge’s 1952 novel, stars Cary Grant and Grace Kelly and was filmed in location in Europe. This was the first of his films shot in Paramount’s VistaVision, a process similar to Cinemascope and used to compete against television for audiences. Despite the arduous process to shoot, he went on to use it five times but the first proved challenging, not that you can tell in the finished product.

John Robie (Grant) is a retired thief known as The Cat but he leaves his French vineyard when a copycat begins a series of crimes that convinces the police he’s back in action. Posing an American businessman, he begins seeking the most valuable jewels in France to outguess his imitator and along the way romances Francie Stevens (Kelly), daughter of a society woman who owns one of the gems on his list. 

The glimpse into French society in fun and the movie moves along with solid pacing and some nice action sequences, notably the first car chase.  Grant and Kelly, in her last film for the director, sparkle on screen together and Hitch does his adept visual innuendo, this time fireworks going off during some serious kissing.

Shot on location makes the film look far different than typical studio fare, aided by Edith Head’s keen eye for costuming the stars, especially Kelly who soon went on to become a princess. The cinematography by Robert Burks deservedly won the Academy Award that year.

Technically, the cleaned print transfer makes this the best edition yet released for home video, with 2.0 Dolby sound lending an assist.
 
The film comes with brand new commentary from Dr. Drew Casper, Hitchcock Prof. of American Film at USC who provides insights into the production. The second disc comes with the usual assortment of special features. The 2007 edition’s extras are included so you’d be buying this mostly for the restored film itself. There’s also the 23-minute [[[A Night with the Hitchcock’s]]], the USC popular class devoted to the director and his works. The surviving family usually comes to chat at least once per semester and the November 2008 visit was recorded for inclusion. Then there’s Unacceptable Under the Code: Film Censorship in America, the 12-minute featurette looking at the state of film censorship during the 1950s, considered one of the most repressive decades in America (see the Comics Code). This focuses on how Hitch worked around the restrictions with glee.

The [[[Behind the Gates]]] featurette is a six minute look at Grant and Kelly as opposed to the physical production of a film. And Edith Head: The Paramount Years makes a return appearance from an earlier part of the collection.

From the 2007 edition are Writing and Casting [[[To Catch a Thief]]] is a nine minute featurette; The Making of To Catch a Thief (17-minutes); Alfred Hitchcock and To Catch a Thief: An Appreciation (seven minutes).

Review: ‘Slumdog Millionaire’ on DVD

slumdog-1254985Pop culture is influenced by so many different factors and timing determines what will catch on and endure while other things, quality be damned, wither and die.  A perfect example is the Award-Winning darling of 2008, Slumdog Millionaire.

Based on the 2005 novel by Q & A by Indian author and diplomat Vikas Swarup, it was optioned for film by British production companies Celador Films and Film4 Productions who hired Simon Beaufoy to adapt it. By the time director Danny Boyle read the script and accepted the assignment, it was 2006. The budget was set at $15 million, meaning the producers needed a partner – enter Warner Independent which gambled $5 million for the right. Shooting began in November 2007 and it spent much of 2008 being screened at festivals starting with Telluride and the Toronto International.  But, a Warner Bros. exec saw the finished product and felt that once you added in prints and marketing, it was not likely to recoup its costs.

A different exec at 20th Century-Fox saw it but saw something different and bought the film from Warners and scheduled it for late in the year. By the time it opened on November 12, the economy tanked and people were in a mixed state of financial panic and political euphoria.  People wanted something to latch on to, something to make them forget the scary real world, at least for two hours.

[[[Slumdog Millionaire]]] was the perfect antidote for what was ailing our psyche. As a result, it has earned, through this past weekend, worldwide revenues of $268,103,477 making it hugely profitable and turning the stars Dev Patel and Freida Pinto into celebrities. Pretty heady stuff.

The movie, coming out on DVD Tuesday, is incredibly moving, exciting, funny, poignant and very predictable. While it was the Feel Good Movie of the Year and therefore swayed voters into giving it many prizes, it is not the greatest film of the year.  In addition to the enjoyable story, it also shined a documentary-style eye on India’s slum life and we watched in gaping fascination. This was not Bollywood or some idealized view of life, but the actual way the majority of the people lived in the heavily populated country. This, more than the story, may be one reason it was so well-received around the world.

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‘Famous Monsters’ trademark goes to Phil Kim

  • News
  • March 27, 2009

A long-simmering trademark dispute over who owns Famous Monsters of Filmland ended on Wednesday when a federal court in California issued a summary judgment temporary Injunction against Ray Ferry, who had lost the trademark during a bankruptcy filing. The mark was purchased for $25,000 by Phil Kim who has been trying to resurrect the brand, beginning with an FM website last May.

Famous Monsters of Filmland, in many ways, shaped the movies we are watching today.  The likes of Steven Spielberg, John Landis, Peter Jackson and George Lucas were all fans of the magazines in the days before there were even books on the subject of movie monsters and filmmaking. The magazine’s influence was celebrated in the documentary film Fan Boys.

The 12-page document from Judge Gary Allen Feess of the U.S. District Court for the Central District of California (who you may remember from the litigation between Fox and Warner Bros. over the Watchmen movie) read in part, “Defendants are hereby ENJOINED from operating the famousmonsters.com, famousmonsters.biz, and filmlandclassics.com websites, and from marketing, selling, or offering to sell any goods or services that contain, or are confusingly similar to, the ‘Famous Monsters of Filmland’ trademark or any derivatives thereof, including ‘Famous Monsters,’ until the present litigation has been fully resolved.

“Defendants failure to comply with this Order may be grounds for contempt sanctions, including possible imprisonment. In addition, Defendants are cautioned that they are not to impose upon this Court any further baseless or frivolous arguments that are directly contradicted or undermined by the evidence in the record, including those that the Court has expressly rejected in this Order.”

James Warren published the magazine beginning in 1958 and its success allowed him to launch Creepy, Eerie and Vampirella until he folded operations in the early 1980s. He then licensed FM to Ray Ferry who continued the magazine and at first had Warren’s editor, Forrest J Ackerman, on board.  The two had a falling out leading to a law suit which Ackerman won although he never saw any of the $500,000 judgment.

Ferry continued to publish the magazine sporadically despite losing the trademark. When Kim obtained it, there were two competing websites and Judge Frees ordered Ferry to cease using the related URLs.

Kim said in an email on Friday morning: “This is the first step in making Ferry a bad memory. Ferry’s reign of terror is over. His website will be no more. My only regret is that Forrest J Ackerman is not here to witness this. Forry may not have believed in the afterlife but I do, and I hope Forry is looking down on this and smiling…I know I am.”

“For what Ferry & Connie have cost me and how relentless they are, I have every intention of recovering my damages from them and those who are found guilty of aiding them in their illegal enterprise. This is just the beginning.”

Ferry’s aide Connie Bean told the Classic Horror Film Board, “Right now we have no comment until we read it. Also, I caution you all to realize that we will have our day in court. We don’t have to react to anything until we are served with it, so that is what we will do. I am assuming according to what I do know, that we move ahead with Shock and Freaky and go from there.

“Ray and I never run with our tails between our legs and will keep going no matter what, maybe not with FM but we will keep going anyway. We have to. It’s the right thing to do. All I know is that everyone will get what they paid us for at one time or another and we won’t leave fans hanging.”

While Kim now controls the trademark and can continue with his plans, the copyrights to the original 1982 issues of the magazine remain in Warren’s control. Creepy and Eerie, now licensed to Dark Horse Comics, are enjoying a resurgence of interest. Harris Publishing currently owns Vampirella.

UPDATE 5/14/09: The ruling was a temporary injunction, not a summary judgment. We regret the error.

Review: ‘The Odd Couple’ on DVD

You know the music. You know the set-up and you’ve seen it played out in countless variations.  Still, there is nothing like the original.  Paramount’s Centennial Collection continues today with two more classic releases, including Neil Simon’s The Odd Couple.

Based on his box office smash play (which in turn was inspired by his brother’s life), Neil Simon took the story of two mismatched divorced men trying to live together and made a sad state of affairs hilarious.

On Broadway, the inimitable Walter Matthau was matched with Art Carney, fresh from his run with Jackie Gleason, but for the film, Paramount exec Robert Evans went for Jack Lemmon, who played previously with Matthau in [[[The Fortune Cookie]]]. On screen, the two had chemistry in spaces and it was necessary to make this work.  One is a sports writer slob, the other a high-strung metrosexual (long before the word existed) news writer. When Lemmon’s Felix Unger is tossed out of his house, he makes several attempts at suicide before turning up at Oscar Madison’s pigpen apartment during the weekly poker game with the guys.  Madison takes pity on Unger and invites him in.

Over the course of three weeks, Unger spruces up the apartment, saves Madison a ton of money (so he can finally catch up on his alimony), and quickly drives his best friend nuts. And when they try a double date dinner with the Pigeon sisters, you see just how hurt Unger is, something Madison never seems to note until then. It just takes him longer to understand what to do.

The movie has a supporting cast of poker buddies filled out with the late John Fielder and Herb Edelman among the quarter. They show how the circle of friends are shades of Oscar and Felix and why they put up with—and support–one another.

The set pieces are brilliant, with terrific comic timing that remains funny even today. On the other hand, the 1968 movie is based on a 1965 play and completely is self-contained so you have no sense of the changes going through Manhattan and American society. As a result, it has a somewhat dated feel regardless of the fine direction by Gene Saks.

As with the first six releases in the set, the second disc comes with an assortment of original production commentary. Unlike the 1950s offerings, this one feels very thin with several short pieces interviewing the surviving production crew and cast, starting with Saks. Simon is nowhere to be seen.  Matthau and Lemmon’s sons talk about their fathers and what it was like growing up with them.  The shorts celebrate the brilliance of Simon and his script but it still incomplete.  Even though Brad Garrett is on screen talking about his part in the most recent revival, everything in between is ignored.  Not a word about how the concept gave birth to the first great sitcom of the 1970s, with Jack Klugman and Tony Randall taking these great roles and running with them for six seasons. Nothing about subsequent revivals of the play, nothing to show how it has endured.

Also missing were features that linked this disc to the overall centennial celebration which is a disappointment.

Still, the movie makes you laugh out loud and it’s nice to have a pristine edition for repeated viewing.

Review: ‘Quantum of Solace’ on DVD

Having grown up on James Bond movies, I have been conditioned to expect certain lines, images and sounds. As a result, I was curious to see what would survive when the franchise was rebooted with Casino Royale. They played with the martini line but maintained the title theme and gave us a fresh start (although I still think Daniel Craig is too old for Bond at this stage in his career).

The movie was pretty terrific although I noted at the time that the pacing was odd and the entire final third felt like a separate film. So, going into Quantum of Solace, which is released on DVD tomorrow., I wanted to see what they would do next especially since this is the first film that was a direct sequel.

The events from [[[Casino]]] provide Bond’s motivations and colors everything he does in this film. Here’s the first problem with the new film: it does a piss poor job of reminding you what happened in the previous installment. When Mathis is reintroduced, I had forgotten who he was and what his involvement with Bond and Vesper were. Similarly, when Bond says M was wrong about Vesper, I have no recollection what she said in the previous film.

While Bond films are known for their action sequences, this one felt by rote. We had fist fights, a car chase, a boat chase and a plane chase. Ho hum. They were uninvolving thanks to what I call “in your face” editing so things flash by so quickly, you have no real sense of what’s going on. You get impressions based on the glimpses you have in your field of vision. Storytelling is tossed out the window for style but leaves you either confused or frustrated.

The movie is praised for being a taut two hours but I would have dearly enjoyed ten more minutes if characters actually spoke to one another as characters not plot exposition and surface characterization. Also, the movie utterly ignores time. You have no idea how much time has passed from the first scene to the last. We have no idea how Bond changes his clothes so often, when he sleeps, eats and so on. After having no access to money or passports, we next see him in a boat heading to see Mathis. How?

It wasn’t all disappointing.

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Review: ‘Tales of the Black Freighter’

One of the key differences between watching [[[Watchmen]]] and reading the complete book is the rich variety of extras in print.  In addition to the story, there was the secondary story, [[[Tales of the Black Freighter]]], in addition to newspaper clippings and excerpts from Hollis Mason’s [[[Under the Hood]]]. Initially, these extras were never considered but were instead added after DC’s management wisely decided the maxiseries should appear without advertising. Freed, Alan Moore and Dave Gibbons filled the pages with rich context, inviting readers further into their imagined universe and making for a more fulfilling reading experience.

Watching Tales of the Black Freighter, available to buy or download on Tuesday, you feel like you’re getting supplemental material divorced from the main story as opposed to being fully integrated with the Zack Snyder-directed feature film.  One supposes we must all wait for the director’s cut where at least the Pirate tale will be once more edited in with the main story.

The animated version of the pirate comic book looks nothing like Gibbons’ art (or for that matter, the one page Joe Orlando contributed) but more generic.  Having said that, it uses Gerard Butler’s narration to great effect along with a muted color palette.  The actual animation is fine as is the music but it’s the haunting story of one man’s survival from the wreck of the [[[Black Freighter]]] (a named plucked from Berthold Brecht) and how this experience has changed him. In many ways, it’s Moore’s contribution to an issue of House of Mystery, but it also shows the kind of escapist literature read by the denizens of a world where Dr. Manhattan exists.  The animation runs about 26 minutes and does a nice job overall. You hear Nina Simone’s version of “[[[Pirate Jenny]]]”, also on the soundtrack disc, over the final credits, further tying the pirate to Brecht.

Also on the disc is a mockumentary that delves into how prime time would have featured Under the Hood’s release in 1975 with a retrospective look fro 1985.  Many of the Minutemen appear on camera in one way or another, from faux newsreel footage to on camera interviews, and this fleshes out the Watchmen’s world quite well.  The interviews, the probing questions, and television advertising of the era (along with some for Veidt-produced products) make for a nifty 38 minutes.

Will your appreciation for Snyder’s film change by watching this? Probably not, but it does help immerse you further into this world and you can appreciate the effort, be entertained, and find more context for the world.

“Story within a Story” is a nice look at these supplemental features as former DC president Jenette Kahn, current DC President & Publisher Paul Levitz, Senior VP Richard Bruning, and initial [[[Watchmen]]] editor Len Wein all talk about the evolution of the backup material and how it became integral to the story. Some of the cast and crew also discuss the movie’s fidelity to the source material and how much fun it was to make.

The disc comes with trailers for the Watchmen, its video game, [[[Terminator: Salvation]]], and the [[[Green Lantern]]] featurette also found on the [[[Wonder Woman]]] disc.  You can either get this now or hope it is all included in some mega set down the road.

Review: ‘Australia’

  • Uncategorized
  • March 11, 2009

Australia DVDBaz Luhrman is a visual director. Couple him with fellow Aussies Nicole Kidman and Hugh Jackman; one would expect a strong story with terrific scenery and fine performances.

Instead, we got a faded postcard called Australia.  The overly long film, now out on DVD, is actually two predictable stories melded into one feature.  The first half is a remake of [[[The African Queen]]] repurposed as an American western set in the outback. The second half is a World War II adventure that sort of pits Jackman against the Japanese. Given its highly obvious story points, it’s hard to believe this is a product from the man who gave us [[[Moulin Rouge]]] and a fresh take on [[[Romeo and Juliet]]].

About the only thing unique about the story is the plight of the half-Caucasian/half-Aborigines children taken away by missionaries during this era to have the “savage” beaten out of them.  As a result, the most interesting characters in the film are the “creamy” Nullah and his silent grandfather King George (played by the veteran David Gulpilil).

Jackman may never win an Oscar for his work, but he’s a versatile, entertaining actor who handles action and romance with equal aplomb.  His Droper smolders throughout the movie and his understanding of the aboriginal people is sympathetic in contrast to just about every other Caucasian in the movie.

Kidman’s Lady Sarah goes from spoiled Englishwoman to gun-toting, hard drinking native without any in-between steps and feels unnatural.  Instead of a nuanced performance, which she’s capable of, she feels like she did this to work from home and not that she had any real affinity for the role or story.

Luhrman also seems more interested in the landscape of his native land than the performances which are more two-dimension than we’re used to. The pacing is languid, even for the action sequences, and overall the movie just lays there. It did not perform well at the box office and 20th Century-Fox apparently lost faith in the film which resulted in a DVD that comes with barely any extras.  There are trailers (and not one for [[[Wolverine]]]) and two deleted scenes, neither of which substantively changes the movie.

Review: ‘Batman: The Motion Picture Anthology’ on Blu-ray

The current era of the super-hero movie can trace its roots to 1989 and the release of Tim Burton’s [[[Batman]]].  For the first time since Richard Donner’s [[[Superman]]], the comic book heroes were taken seriously and adapted for the screen with love and care.  In between, there was failure after failure as no one in Hollywood seemed to understand the source material.

Even Michael Uslan, who did understand, spent 1980 through 1988 trying to mount the film with little success. The stars seemed to finally align as Frank Miller’s [[[Dark Knight]]] in 1986 showed people what could be done with the character and suddenly Warner Bros. was interested. They tapped Burton, coming off the success of [[[Beetlejuice]]], a director with exactly the right sensibilities to take the Dark Knight and present him in a way that made you forget Adam West’s interpretation (at least for a little while).

You’re reminded of what a masterful job he did by rewatching Batman on a new crisp transfer as part of the Blu-ray box set Batman: The Motion Picture Anthology 1989-1997, on sale today. Gotham City is a dark, scary place, and its populace needs Batman, a vigilante protector. The architectural look, from designer Anton Furst, coupled with the moody lighting and off-kilter sensibilities of its director made Batman something to marvel at. He got fans to get over their complaints that Michael Keaton was the wrong choice to portray Bruce Wayne.  Instead, Keaton was a conflicted everyman who had some serious issues driving him to don the costume and endure the withering barbs from Alfred (Michael Gough). Jack Nicholson’s Joker nearly stole the movie but was a terrific foil for the hero.  The movie’s far from perfect with story holes and logic gaps (one bullet can take down the Batwing?).

Burton and Keaton came back for [[[Batman Returns]]] which unfortunately offered us no new insights into the hero but did give us refreshed looks at both Catwoman and Penguin. Selina Kyle’s story arc is the strongest in the film and Michelle Pfeiffer gives a strong but sympathetic performance.  Danny DeDevito made for a creepy, grotesque Penguin but his arc was taken from a 1967 plot and felt it.  The uneven storylines never meshed well and the movie felt divided.

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